Mixed Race Studies

Punta Music Has Never Been a Honduran ‘Thing,’ It Has Always Been a Black One

Remezcla
2022-03-24

Julaiza Alvarez

I was 12 years old when I went to my first fedu, a Garifuna word for a traditional gathering or party in Honduras. I was intrigued by how comfortable everyone was: The women dressed in traditional garments danced to the beat of the drum and sang to the sound of hands clapping. It was effortless. I had never seen anything like it. While I had been to family functions and seen my aunts dance, this did not compare. It was mesmerizing, especially with everyone being Black. It was different, and it set me on a journey to discover who I was.

Growing up in Charlotte, North Carolina, I struggled to find a sense of belonging in a community that did not accept me but accepted what my Blackness could give them. I wrestled with constantly being challenged to prove myself, not realizing that we are burdened with defending ourselves from the people we call our neighbors. Through music, Garifunas have told their story. But sadly, Punta is one of the countless Black musical movements that are having its history erased. The scene at my first fedu was unlike the music videos I grew up watching on YouTube where the Garifuna men would beat the drums, and the fair-skinned and dark-haired women would dance in front of them.

In my introduction to Punta, I saw my Blackness be celebrated. But to the rest of the world, their introduction to Punta showed my Blackness used as an accessory. Something you put on and take off when you are done with it. That’s why it is disheartening to watch the deliberate whitewashing of this sacred genre of music. The genre’s mainstream face is based on the misconception that Punta is the heartbeat of the Honduran people, the entirety of the country. In fact, this genre is rooted in a more specific community: the Garifuna people, the descendants of mixed West African and indigenous people that have historically resided on the Caribbean coast of Central America…

Read the entire article here.

Aline Motta and the personal diving into collective memory

ARTE!Brasileiros
2020-03-18

Marcos Grinspum Ferraz

The multimedia artist, one of the winners of the 7th Marcantonio Vilaça Award, departs from a thorough research on his family history to address major topics such as slavery, African heritage and a patriarchal structure that remains in Brazil today

The journey of artist Aline Motta looking for her roots and the vestiges of her ancestors is undoubtedly a personal endeavour. The result, however, concerns the collective memory of thousands of Brazilian families built (or destroyed) in the violent process of the country’s formation, based on slavery and patriarchal structure.

“It took a while for me to acquire some maturity and psychic centering to deal with issues so deep and difficult that concern my own history and family,” she says in an interview with ARTE!Brasileiros. This maturation time included not only some early artwork that dealt with other topics, carried out especially from the beginning of this decade, but also a vast trajectory as a continuist in movies, which commenced in 2001.

It was from 2016, when she had the project Pontes sobre Abismos (Bridges over Abysses) selected by Itaú Cultural’s Rumos program, that Motta, now 45, began to devote herself full-time to authorial work, with a multimedia production that did not leave aside cinema, but also unfolded in installations, photographs, texts, publications and performances…

Read the entire interview here.

A brush with… Ellen Gallagher

The Week in Art
2021-06-30

An in-depth conversation on the artist’s big influences, from Keith Haring to Moby Dick

In this episode of A brush with…, Ben Luke talks to the American artist Ellen Gallagher about her life and work by exploring her greatest cultural influences. Born in Providence, Rhode Island in 1965, Gallagher studied at Oberlin College in Ohio, the School of the Museum of Fine Arts in Boston and the Skowhegan School of Painting and Sculpture in Maine. She now lives in Rotterdam in the Netherlands. Much of Gallagher’s parents’ ancestry—in particular her Black father who is from the Cape Verde archipelago off the west coast of Africa—defines the territory of her practice, which relates to the culture and language of the Black diaspora.

Though primarily working in painting and drawing, Gallagher has also worked in sculpture, film and animation. Her early style appears Minimalist and spare from a distance but, up close, one observes intricate drawings of eyes, lips and wigs, which Gallagher has described as “the disembodied ephemera of minstrelsy”—the racist blackface entertainment common in the US from the C19th onwards. In the early 2000s, she used cut-out advertisements from Black culture magazines and transformed them with plasticine, making sculptural reliefs that were often imprinted with witty or incisive symbols and imagery. Many of her paintings refer to the sea and allude to the Afrofuturist myth of Drexciya: a Black Atlantis at the bottom of the Atlantic Ocean, supposedly populated with the children of the mothers of enslaved African women who were thrown—or threw themselves—overboard during their forced journey across the Middle Passage…

Read and/or listen to the interview here.

FKA twigs: ‘I don’t have secrets. I’m not ashamed of anything’

The Guardian
2022-03-26

Kadish Morris, Editor, Critic & Poet

After a hellish couple of years, the pop visionary is back. She talks about beating illness, escaping abuse, and the joy of connecting with her Caribbean roots

FKA twigs isn’t special, she says, she just rehearses a lot. “I don’t think I was born with anything more than the rest of the world,” says the 34-year-old singer-songwriter. It might be hard to believe that anybody could do the splits down a pole or wield a sword, Wushu-style, the way twigs has done without possessing some divine powers, but it’s all in the training. She can afford private lessons now, but when she started out as a fresh-faced back-up dancer, YouTube tutorials and group dance classes helped her to perfect her craft. “I practise and I practise and I practise. That’s who I am.”

Twigs has had a spellbinding career, exploding on to the pop scene a decade ago with operatic vocal arrangements, conceptual videos and futuristic instrumentals. In 2014 the New Yorker magazine said that she “dresses like a high-fashion model from antiquity, but her songs promise the very contemporary pleasures of texture and emotional immediacy”. Since then, she’s released several acclaimed albums and is considered a trailblazer in pop, R&B and Afrofuturism…

Read the entire interview here.

The Obama Portraits

Princeton University Press
2020-02-11
152 pages
7 x 9 in.
76 color illustrations
Hardcover ISBN: 9780691203287

Edited by:

Taína Caragol, Curator of Painting and Sculpture and Latino Art and History
National Portrait Gallery, Washington, D.C.

Dorothy Moss, Curator of Painting and Sculpture
National Portrait Gallery, Washington, D.C.

Richard J. Powell, John Spencer Bassett Professor of Art and Art History
Duke University, Durham, North Carolina

Kim Sajet, Director
National Portrait Gallery, Washington, D.C.

From the moment of their unveiling at the National Portrait Gallery in early 2018, the portraits of Barack and Michelle Obama have become two of the most beloved artworks of our time. Kehinde Wiley’s portrait of President Obama and Amy Sherald’s portrait of the former first lady have inspired unprecedented responses from the public, and attendance at the museum has more than doubled as visitors travel from near and far to view these larger-than-life paintings. After witnessing a woman drop to her knees in prayer before the portrait of Barack Obama, one guard said, “No other painting gets the same kind of reactions. Ever.” The Obama Portraits is the first book about the making, meaning, and significance of these remarkable artworks.

Richly illustrated with images of the portraits, exclusive pictures of the Obamas with the artists during their sittings, and photos of the historic unveiling ceremony by former White House photographer Pete Souza, this book offers insight into what these paintings can tell us about the history of portraiture and American culture. The volume also features a transcript of the unveiling ceremony, which includes moving remarks by the Obamas and the artists. A reversible dust jacket allows readers to choose which portrait to display on the front cover.

An inspiring history of the creation and impact of the Obama portraits, this fascinating book speaks to the power of art—especially portraiture—to bring people together and promote cultural change.

Published in association with the Smithsonian’s National Portrait Gallery, Washington, DC

Adwoa Aboah on acting, recovery and her racial awakening: ‘I am a Black woman. I have a lot to say’

The Guardian
2022-03-19

Hannah J. Davies, Deputy Editor, Newsletters, and a Culture Writer

She is one of the world’s most in-demand models, but it wasn’t always this way. As she gets her big acting break in Top Boy, she explains how she got through a tumultuous decade

A few weeks ago, Adwoa Aboah experienced what she describes as “a sombre moment”. “I was at my mum and dad’s, clearing out my childhood room,” she says, her voice a little shaky. “I was going through all these old Vogues I had kept, and I was like … ‘Why did I do that? What was I looking at … who was I looking at?’ Because no one in these magazines looks like me.” Despite signing with the giant modelling agency Storm at 16, Aboah’s self-esteem as a teenager and into her 20s was, she says, “so low. I was on this trajectory of really wanting to be someone else. I couldn’t count on my hands any models who looked like me who were killing it. Obviously there was Jourdan Dunn, and Naomi Campbell, but … ” she pauses, sighs. “I didn’t have the emotional intelligence, nor the language, to articulate why I wasn’t doing well, why I wasn’t in the places that I thought should have been an option for me. Why wasn’t I being supported by British publications? I was like: ‘Is it me? What’s wrong with me?’ Not in a kind of self-pitying way but … I just didn’t understand.”.

Now 29, Aboah is one of Britain’s most recognisable and successful models, as likely to be seen endorsing Dior or Burberry as H&M or Gap. She was named model of the year by the British Fashion Council in 2017 and, in the same year, memorably featured on the cover of Edward Enninful’s first issue of British Vogue, a vision of retro cool in a patterned headscarf and masses of blue eyeshadow. She’s also an activist, having founded the organisation Gurls Talk – which educates young women on topics including feminism, race, sex and body image – in 2015, and now she has her first regular acting role in the new series of Netflix’s Top Boy, one of the coolest shows on TV. It’s hard to believe that Aboah ever felt like a misfit and, worse still, thought that it was somehow her fault…

Read the entire interview here.

Being Mestiza

Enchantment Learning & Living Blog
2020-09-22

Dr. Maria DeBlassie, Professor, Writer, Bruja
Albuquerque, New Mexico

I’ve been getting a lot of questions from readers about what I mean when I say I’m mestiza. That fact is always one of the first pieces of information in all my author bio and that’s intentional. Although the term has been around for a long time, I specifically use the definition from Gloria Anzaldua’s Borderlands/La Frontera: The New Mestiza (1987), which focuses on developing a new mestiza consciousness. For those that aren’t familiar with the term, mestiza or mestizaje means a person of mix-raced decent.

Being mestiza is different for everyone—everyone’s mix is a little different and, in many cases, few of us know everything about the mix that is our cultural background. This is because we are, in one way or another, products of colonization. And as a result of colonization, histories of the colonized sometimes get lost, erased, or suppressed. So it is important to remember that, like the wider Hispanic and Latinx communities, the mestizaje community is not a monolith. Our mixed heritage and our relationship to it are as complex and diverse as our backgrounds…

Read the entire article here.

Genevieve Gaignard’s new exhibit ‘This is America’ on view at Atlanta Contemporary

WABE (WABE 90.1 FM, WABE TV)
Atlanta, Georgia
2022-02-10

Adron McCann

In 2018, Donald Glover, a.k.a. Childish Gambino, released the viral hit song “This is America,” a razor-sharp commentary on contemporary society. In a nod to his incisive work, artist Genevieve Gaignard presents a new exhibition, “This is America: The Unsettling Contradictions in American Identity,” at the Atlanta Contemporary Art Center from Feb. 12 – May 15. It’s the first solo exhibition of the multidisciplinary artist’s photography and installation work, through which she unravels the ongoing issues complicating the identities and representations of Americans. Gaignard joined “City Lights” host Lois Reitzes via Zoom and curator Karen Comer Lowe to talk about the artist’s new contributions to Atlanta Contemporary.

How race informs the artwork of Gaignard, who is biracial:

“Once you look at it, I think it’s everything. I’m really interested in owning both sides of my story, and so I don’t really tiptoe around those things,” said Gaignard…

Read the entire article here.

Beyond Visible: Gina Prince-Bythewood on the Necessity of Black Women’s Cinema

The Criterion Collection
2021-10-15

Rebecca Carroll

There is a gloriously unaffected vibe about Gina Prince-Bythewood. Cerebral and sublime, casually beautiful and laser-focused, she has written and directed impressive television and film for the past twenty-plus years with equal parts rigor and joy. And she has achieved all this without losing her sense of self as a Black woman in America, and while continuing to fight to get personal projects made in Hollywood.

Prince-Bythewood has recently reached new heights by becoming the first Black woman to direct a major comic-book movie. That film—The Old Guard, starring KiKi Layne and Charlize Theron—premiered on Netflix in the summer of 2020, at the peak of the pandemic, to widely favorable reviews. Prince-Bythewood, though, is still best known for writing and directing her 2001 feature debut, Love & Basketball, which tells the indelibly original story of a young Black woman ballplayer. The film is not just a love letter to basketball but a paean to the complexity, ambition, and perseverance of Black womanhood. After writing for shows like A Different World and Felicity, Prince-Bythewood went on to direct for TV, including episodes of Girlfriends and Everybody Hates Chris. She returned to the big screen in 2008 with The Secret Life of Bees, and again in 2014 with Beyond the Lights, which is when we first met.

I had known and admired Gina’s work; I don’t know a single Black woman who did not obsess over the love scene in Love & Basketball set to Maxwell’s “This Woman’s Work.” But Beyond the Lights, from the opening scene, hit different. Here was the story of a young Black girl with a white mother who couldn’t see her daughter outside of her own white gaze. It echoed my own experience. I reviewed the film for an online blog and then requested an interview with Gina, which very quickly turned into a conversation that felt uncannily familiar. We were born within a month of each other, in 1969, and were both adopted into white families three weeks after being born. We had both spent our youth navigating all-white environments, desperately in search of a reflection of ourselves. We both turned to storytelling as a career path and a way to make sense of that experience.

Gina has written herself into the narrative—in the movies she’s brought to the screen, the family she’s made, and the world she’s created around her. In celebration of the new Criterion edition of Love & Basketball, we got together to catch up, reflect, and get into it…

Read the entire interview here.

Your Attention Please: Initiative 29 – Tao Leigh Goffe • Hulu

Hulu
2021-05-29

Tao Leigh Goffe, Assistant Professor of Literary Theory and Cultural History
Cornell University, Ithaca, New York

Journey through time with professor and DJ Tao Leigh Goffe as she uncovers her story at the intersection of Black and Chinese culture in this month’s #Initiative29 episode.